IN A CAREER spanning three decades, acclaimed playwright Tanika Gupta has witnessed firsthand the transformation of British theatre from a white, male-dominated space to one increasingly embracing diverse voices and stories.
From her groundbreaking stand against whitewashing in her debut play to her recent National Theatre success featuring prominent South Asian actors, Gupta's journey mirrors the industry's gradual but meaningful evolution in representation.
The Indian-origin playwright recalled the challenges she faced in getting her first play, Asha, produced—a story about an Anglo-Indian woman on a beach. When casting began in 1991, she was told that no Asian actors were available and was asked whether she would accept white actors in their place. Her firm refusal underscored the struggles of representation in British theatre at the time.
Her most recent production, A Tupperware of Ashes, was performed at the National Theatre’s Dorfman stage. The play, featuring actors Meera Syal and Shobna Gulati, was an emotional tribute to a generation of British Asians who migrated to the UK, built their lives, and faced the trials of old age and illness.
At the heart of the play is Queenie, a modern British Bengali matriarch with a Michelin-starred restaurant, diagnosed with early-onset dementia. The story mirrors the real-life experiences of Gupta, Syal, and Gulati, whose mothers all faced difficult ends—some battling dementia, others suffering from cancer. The play delves into themes of loss, family, and cultural identity, offering an emotional yet cathartic experience for audiences.
Gupta and her co-creators discuss the stigma around care homes in their communities, where many fear that their elderly relatives will once again find themselves as outsiders in a predominantly white space. She brings these issues to the forefront with sensitivity and authenticity, ensuring that underrepresented voices are heard on the British stage.
Gupta believes in theatre’s ability to stir deep emotions. “If audiences are crying, I’ve done my job,” she once remarked. She finds satisfaction in knowing that her plays provoke strong reactions, whether it’s sorrow, laughter, or reflection. Her ability to write with raw emotional depth allows her to connect with audiences on an intimate level, making her one of the most powerful storytellers in British theatre today.
Gupta, who modelled Queenie on King Lear, is known for reimagining classical works through a fresh lens.
She had previously worked with director Pooja Ghai on The Empress, staged by the Royal Shakespeare Company. The play, which explores the story of Abdul Karim and Queen Victoria, has now been added to the GCSE curriculum, ensuring that future generations engage with narratives beyond the traditional British canon.
With over 25 stage plays, 30 radio plays for the BBC, and scripts for television dramas, she has left an indelible mark on British storytelling.
In August 2024, Gupta was awarded an honorary doctorate by the University of West London (UWL) for her outstanding contributions to theatre and storytelling. This recognition highlighted her role in inspiring young students and emerging playwrights, particularly at the London College of Music, part of the UWL, where she has been a significant influence.
In recognition of her contributions to drama, she was awarded an MBE in the 2008 New Year Honours List. She was named a Fellow of the Royal Society of Literature in June 2016.
Gupta’s career milestones include The Waiting Room, produced at the National Theatre in 2000, where Indian film star Shabana Azmi performed in London for the first time. Her adaptation of Henrik Ibsen’s A Doll’s House, first performed at the Lyric Hammersmith in 2018, brought a new perspective to the classic play by setting it in colonial India. Lions and Tigers, another major work, was staged at the Sam Wanamaker Playhouse, celebrating the lesser-known heroes of India’s independence movement.
Gupta was born in London to Bengali parents, who had emigrated from Kolkata. She grew up attending the meetings of Tagoreans, a society set up by her parents, Gairika and Tapan Gupta, to spread the best of Bengali culture.
Graduating in Modern History from Oxford University, she began her career writing for radio and television before transitioning to theatre, where she found her true voice.
In the 1990s, she was part of the Asian Women Writers’ Collective, a group that provided a much-needed space for British Asian voices in literature and performance. It was during this period that she formed long-standing collaborations with figures like Meera Syal, leading to some of her most impactful works.
Throughout her career, Gupta’s plays have tackled themes of identity, migration, colonial history, and social justice. She often writes about strong, formidable women navigating the complexities of culture, tradition, and modernity. Her works explore the struggles of immigrants in Britain, generational conflicts, and the impact of historical events on personal lives.
Her first play, Voices in the Wind, written for radio in the early 1990s, was about Dinesh Chandra Gupta, her great-uncle and Indian freedom fighter, who was sent to the gallows at the age of 19.
Her plays often balance dark themes with humour and warmth, ensuring that even the heaviest subjects are approached with humanity and relatability. This delicate balance is a signature of her work, making her stories resonate with people across generations and cultural backgrounds.
Beyond her writing, she is actively engaged in drama education, conducting workshops and teaching in various countries, and throughout the UK.
Currently, she serves as a visiting lecturer at Royal Holloway, University of London, and the Royal Central School of Speech and Drama.
